The question of identity in music composition is interrelated with the condition of musical material and form and the qualities which make musical ideas traceable. The mechanisms for creating musical identity during much of the modern period were based on the elements of pitch, rhythm, harmony and form. Until the twentieth century musical identities were regulated according to traditional systems. The advent of modernism in music was marked by the new solid identities, timbre and texture to the foreground as significant identity-bearing musical elements, and at the same time saw blurring of the traditional concepts of identity. The avant-garde movements of the post-World-War-II period in particular challenged the established identity concepts by liquefying the very essence of the musical work. The modern conceptual tools need to be replaced with new ones in order to address the current state of precariousness of musical material and form. In my original composition for sinfonietta entitled rh, I propose liquid identity as a new concept of musical identity. Liquid identity is based on a new image of musical sound which embodies the internal difference of sound in a self-existing conceptual model. In a state of liquidity all hierarchies flatten and the concept of development is rendered obsolete. The composer then writes constantly “in the middle” and compositional decisions are taken here and now. Consequently, the process of composition becomes a creative anarchic praxis without an end goal.

The purpose of this research was to explore the fundamental elements that constitute, shape and define the thinking and creative processes embodied in musical style of ten prominent South African jazz pianists. The study was qualitative and underpinned by an exploratory research design. Using a collection of case studies, the study used semi-structured interviews to probe participants’ backgrounds, formative influences, and musical style within a South African context. An analysis of the findings resulted in the emergence of three main themes, namely; Developing a musical identity; Negotiating a personal style; and, Finding the South Africanness in jazz. The first main theme outlined the core influences that shaped the participants’ earliest conceptions of musical style, and thus their developing identities. Family members: modelling their parents’ and siblings’ musical interests, immediate environment, interacting with professional jazz musicians, and the socio-political environment, were found to be highly influential. Other factors included; learning which happened through formal, informal, social and self-directed. Listening and musical preferences were also found to be key to the forming identities of the pianists. The second main theme reflected a progression from an ‘outward’ technical understanding of style to an assimilated ‘inner’ one. The first manifested in the descriptions of noticeable elements in jazz music that have been shaped over time, while the second describes ways in which the pianists’ individual social and cultural experiences inform their musical styles. The third theme highlights participants’ challenge in defining a South African style, resulting in a need to conceptualise a term(s) that would better describe the nature of the music. South African works were found to be at the core of acquiring an understanding of the musical styles of South African jazz pianists. External influences within the South African musical style, and idiosyncratic features based on indigenous musical influences were key to the musical identities of South African jazz pianists. Furthermore, understanding the metanarratives that serve as creative inspirations for these compositions is vital. The study concludes that a South African jazz style represents an amalgam of internal and external musical influences, evolving over time. The incorporation of eclectic musical elements from the indigenous ‘musics’ of the various South African ethnic cultures add an inimitably South African articulation and prosody to the jazz language. The unique histories and narratives of South African jazz pianists have resulted in their distinct approach to the jazz style. / Thesis (DMus)--University of Pretoria, 2019. / Music / DMus / Unrestricted

The purpose of this study was to better understand the musical engagement of adolescent males enrolled in a general music class in order to learn what factors of the environment adolescent males perceive as impactful in the development of their musical identities (cf. MacDonald, Marshall, & Miell, 2002). Secondly, because researchers have posited that informal music contexts are pivotal in the development of adolescent identity and that connections can be drawn between formal and informal settings (cf. Green, 2008; Hargreaves & Marshall, 2003), I wanted to learn what role, if any, in-class connections to students’ informal musical contexts might play in the engagement of their musical identities. The following research questions were explored: In what ways, if any, are adolescent males’ musical identities engaged in the general music classroom? What role, if any, do in-class connections to informal contexts play in this engagement? Musical identities were understood through a social psychological perspective encompassing identities in music and music in identities: the socio-cultural musical roles individuals fill and the ways in which music serves other, non-musical aspects of an individual’s identity. An all-male school in the Midwest United States served as the research site. Participants were adolescent males, ages 11 through 14, enrolled in a compulsory general music program. I collected data via questionnaire, focus group interview, individual interviews, video reflections, researcher memos, and artifacts. Four factors emerged as key in the engagement of participants’ musical identities in the music classroom: 1) freedom in decision-making, 2) belonging to the classroom community, 3) distinction among peers, and 4) exposure to the other. Participants reported they could more fully engage their musical identities when each of these factors were present in the classroom, with the exception of distinction, which at times helped and at times hindered the expression of particular self-concepts. In-class connections to informal contexts were revealed in the roles of both freedom and exposure to the other in students’ engagement of musical identities. I concluded by discussing the implications of these findings as they relate to teaching, program advocacy, and recommendations for future research.

Research demonstrates that involvement in musical ensembles provides an environment for individuals to grow personally, musically, socially, and independently (Cavitt, 2005; Coffin, 2005; Coffman, 2002, 2006, 2008; Coffman & Adamek, 2001; Dabback, 2008; Taylor, Kruse, Nickel, Lee, & Bowen, 2011). Typically, research with community bands focuses on older adults who are in the retirement phase of life (see Ernst, 2001; Ernst & Emmons, 1992; Dabback, 2008; Hays, 2004; Hays & Minichiello, 2005; Coffman, 2002, 2006, 2008; Southcott, 2009). However, many community bands are seeing more of an intergenerational aspect to community band membership. The current study explored how individual participation in intergenerational community concert bands influences participants' musical identity with respect to: a) the instrument, the section, and the band as a whole?; b) prolonged membership and multi-band membership?; and c) learning new musical repertoire. Adopting a qualitative multiple case study approach and guided by a Social Identity Theory and musical identity theoretical framework, this study included fourteen participants (N=14) from three community concert bands in Eastern Ontario. Each participant completed a demographic questionnaire, a series of four journal entries, one virtual semi-structured interview, and one virtual focus group session with participants from the same respective band. Data was analyzed using Bloomberg and Volpe’s (2008) "roadmap" to identify the themes both within and across cases (Miles & Huberman, 1994; Seidman, 2006). The main findings of this study relate to how musical identity is influenced by group membership, social comparisons, and perceived musical ability to influence the well-being of intergenerational community band members. Further implications relate to the value of music education and lifelong learning.

Music therapy is widely portrayed either as a paramedical practice within which music is a technology applied as a form of treatment or as a form of psychotherapy within which the music plays a primarily symbolic role or acts as a lead in to verbal consideration of the patient’s presenting issues. Music therapy research currently focuses predominantly on demonstrating “evidence of effectiveness” in terms of symptomatic outcome, thus preserving a focus on the individual congruent with the medical model. In contrast, this thesis seeks to examine ethnographically the ways in which music therapy gets accomplished as a situated social practice within a community mental health resource centre in a UK urban area. Drawing both on the observations and experiences of the researcher (a music therapist already working within this setting) and on formal and informal interviews with the centre’s members and staff, it seeks to identify ways in which music therapy gets done and value ascribed to it. Observations are compared with the “norms” portrayed by dominant professional discourse, and reasons for discrepancies considered. Particular attention is paid to self-awareness, intimacy and conviviality as facets of what music therapy has to offer in such a setting, and to social capital theory and Goffman’s dramaturgical approach as broader conceptual frameworks for such affordances. Consideration is also given to the “fit” between the affordances of music itself, and the “craft” required of diverse actors in order that music therapy can be considered to offer an ecology which promotes health and well-being. Finally, the findings are re-addressed towards music therapy itself via the lens of what it means to be “clinical” in order that a sociological “craft” perspective maybe brought to bear within the discipline.

ABSTRACT “MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE OF CHILDREN’S MUSICAL IDENTITY by L. Michelle Mercier-De Shon This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003). Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play. Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.

ABSTRACT “MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE OF CHILDREN’S MUSICAL IDENTITY by L. Michelle Mercier-De Shon This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003). Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play. Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.

Varied academic accounts exist of the psychological and physiological benefits experienced through engagement with music. MacDonald, Kreutz and Mitchell (2012) state that there is an increasing amount of evidence to suggest that music has the ability to positively affect our feelings of health and wellbeing. Despite qualitative studies into the benefits of music on older people, in particular singing, (Hallam et al, 2013; Clift et al, 2008), there has been less focus on this retired generation. In a study by Pickles (2003) into music and the ‘third age’, a plea is made for a further understanding of the musical opportunities and needs for this age group. For the first time ever there are more than ten million people now aged over 65 within the UK (UK Parliament website, 2015) and their number exceeds those under 16 (McVeigh, 2009). Contemporary studies indicate a positive correlation between good health and wellbeing with productive pastimes (Stephens & Flick, 2010; Franklin & Tate, 2009), and further evidence shows a positive correlation between those who are married and lifespan longevity (Jaffe et al 2006). This supports the need to further research the function of music as a motivational activity and its position within couple relationships in the older generation. The aim of this investigation was to explore lifelong musical engagement and its role in the wellbeing of married couples in retirement. Five retired couples who were in good health and actively engaged in musical pursuits were interviewed individually utilising an idiographic methodology, Interpretative Phenomenological Analysis. Seeking to offer new insights into the importance of music in this key area of health, identity and social relationships each participant offered meaningful perspectives on the phenomenon being investigated. Analysis of their narratives revealed three overarching themes: i) the centrality of music throughout the lifespan, ii) music as a therapeutic tool, and iii) music in the present and its role in future selves. Significant findings showed how the use of music within the dyadic relationship facilitates a joint identity through the lifespan which continues into old age, assists social reconstruction when agency is under threat, brings positivity and respect through matched musical preferences, enriches feelings of positivity for the future as musical engagement is still possible when mobility becomes an issue, enhances feelings of togetherness, and provides joy through the provision of a legacy to future generations. Recommendations are made for future research into expanding awareness of specific areas of musical engagement which enhance a sense of wellbeing in older age couples, and increasing knowledge of its role in other age group intimate partnerships.

Tyrimo tikslas - ištirti Vilniaus rajono ketvirtų klasių mokinių klausomos muzikos pasirinkimo ypatumus. Tyrimo objektas - veiksniai, kurie daro įtaką vaiko nuostatoms apie įvairų stilių klausomą muziką. Tyrimo uždaviniai: apžvelgti teorinę literatūrą apie vaikų muzikinio skonio ir muzikinės tapatybės formavimąsi; anketine apklausa nustatyti keturių Vilniaus apskrities mokyklų ketvirtų klasių mokinių prielankumą įvairių stilių muzikai; grupinio interviu metu išsiaiškinti mokinių nuostatas ir įvairias priežastis, kurios lemia abejingumą ar prielankumą klausomai muzikai; išnagrinėti, ar berniukų ir mergaičių nuostatos skiriasi klausomos muzikos atžvilgiu. Per pastaruosius 30 metų pasaulyje gana daug atlikta tyrimų analizuojančių mokinių muzikos pasirinkimo ypatumus iš įvairių perspektyvų, tokių kaip: muzikos klausytojų pasirinkimas atliekant įvairias užduotis; nuomonės ir pirmenybės, teikiamos įvairiems muzikos stiliams ir dainoms; klausytojų pasirinkimas iš įvairių muzikos bruožų. Tačiau Lietuvoje nepavyko rasti tyrimų analizuojančių ketvirtų klasių mokinių klausomos muzikos pasirinkimo ypatumus. Tokio pobūdžio tyrimai leistų išsiaiškinti ketvirtų klasių mokinių klausomos muzikos pasirinkimo ypatumus ir veiksnius, kurie susiję su jų pasirinkimais. Šie tyrimai leis mokytojui geriau suprasti mokinį, tinkamai parinkti pamokose klausomą muziką.Kažką apie būtinumą geriau suprasti mokinį, ir tik tada gali jį motyvuoti. Tyrimas buvo atliktas 2009 metų rudenį Eitminiškių vidurinės... [toliau žr. visą tekstą] / The aim of the study was to investigate various aspects of music listening preferences among fourth grade students in the rural area around Vilnius, Lithuania. Four schools were included in the study. The study was conducted in the autumn of 2009 at Eitminiškių Secondary School and its branches at Ažulaukės, Visalaukės, Sužionys. The sample consisted of 29 fourth grade pupils: 16 girls and 13 boys. The research includes an overview of the theoretical literature on children’s musical taste and musical identity formation; a survey questionnaire to determine dispositions regarding different styles of music among fourth grade schoolchildren.; Group interviews of students were conducted to find out the various causes which lead to likes or dislikes of certain types of music. Gender differences were also examined Over the past 30 years many research studies have been conducted analyzing students’ choices of music features from various perspectives, such as: choice of music while performing a range of tasks; opinions and priorities attached to various styles of music and songs; listeners’ choice of different musical features. In Lithuania, however, there is a dearth of studies analyzing primary grade students’ listening preferences and related topics. . Such studies would help clarify the nature of fourth grade students’ music listening choice and factors associated with their choices. This would help teachers better understand the learner, and choose more effective music... [to full text]

Pièces musicales abondamment composées au début du 20ème siècle au Japon, les chants pour enfants ont fait l'objet de réflexions croisées entre pédagogues, hommes de lettres et musiciens dans une période d'effervescence culturelle et de développement des médias de divertissement.Introduite très tôt dans le système scolaire, la pratique du chant présentait des intérêts aussi variés que ceux de renforcer l'esprit collectif, de faciliter la mémorisation des connaissances, de disposer d'un répertoire interprété lors des cérémonies publiques et des manifestations patriotiques, mais aussi d'attribuer une identité commune aux exécutants. La question de l'identité musicale japonaise a notamment préoccupé les intellectuels de l'ère Taishô qui, face à l'occidentalisation grandissante bouleversant la vie sociale des Japonais, voulurent exhumer les chansons autochtones afin de les exploiter dans l'élaboration d'un nouveau répertoire.Chacune des trois parties de cette thèse s'attache donc à décrire et analyser les comptines (warabe uta), les chants scolaires (shôka) puis les chants pour enfants (dôyô) qui constituent le répertoire de la chanson enfantine au Japon, afin de retracer les évolutions inhérentes à ces types de pièces vocales, décrire les interactions des différents courants musicaux, révéler les ruptures et les oppositions que l'on peut observer dans les discours des milieux artistiques et littéraires, et permettre ainsi une meilleure compréhension de la société de l'époque. / Children’s songs were a source of reflection between pedagogues, intellectuals, and musicians during a dynamic period of cultural revival and the development of media for entertainment.Introduced very early in the school system, singing practice was a source of various interests as much as an enforcement of a collective spirit or knowledge memorization. On the other hand, patriotic demonstrations during public ceremonies allowed the enforcement of national identity through singing. The Japanese musical identity raised several questions for intellectuals of the Taisho era. During that time, they were facing an acceleration of the phenomenal Westernization of Japanese society and wanted to use Japanese nursery rhymes in order to create a new repertoire.Each part of this thesis will describe and analyze nursery rhymes (warabe uta), school songs (shôka) and children songs (dôyô) that form the genre of ‘children songs’ in Japan. Through each item, I will retrace the evolution of those types of vocal pieces and describe the interactions between the repertoire of different musical eras. This will help to reveal the opposition that can be witnessed in the speech of the artistic and literary community at the time and allows a better understanding of the wider society of that period.